The two paintings in this post were made about three months apart. The first is a portrait I attempted on an 11 by 14 inch recycled stretched canvas, and the second is an 8 by a 10-inch study based on a photo I took over the summer, which I painted on a board panel. In this post, I’d like to discern things I’ve done on each painting, how they differ from each other and where I’d like to move next with my painting process

Monika’s Selfie

My first shortcoming with this painting was not spending enough time on the drawing stage. Besides getting a better sense of structure, had I forced myself to work harder on the drawing, perhaps I would end up with a more dynamic composition and not just replicate what I saw from a JPG file. When you attempt to make a representational painting, rushing without dissection hardly takes you anywhere!

I enjoy the textural qualities of painting. Intentional brushstrokes carry a sense of energy and assertiveness that makes painting extra special. But, looking back to this painting, I can’t help thinking how much a touch of sandpaper over that recycled canvas could have given me a better surface to paint on! The broad strokes in the lower portion of the canvas are very distracting and show carelessness more than confidence.

Lastly, I wish I had paid better attention to the cooler tones as I was painting because that would have given me better contrast and a transition between planes that’s more organic.

So, what do I like about this painting? I like that I was able to paint it, and I also like the expression in her left eye. There’s something quite human about it that goes beyond technique.

Natasha by the Lake

When I started working on this small panel, I was absorbed watching painting demonstrations on YouTube, and those that impressed me most were some old clips with Tom Keating that someone posted on YouTube where he attempted to replicate the painting styles of old masters like Titian and Rembrandt. I was captivated as he speculated how a painting may have been done while making loose brush marks. Thus said, I will always hold high regard for the great masters, but when you have access to that kind of information it really sets you free from fear of failing because you then understand the old masters also were people seeking ways to control their craft; so it’s a huge confidence booster!

Contrary to the first painting on this post, I made a somewhat careful drawing as a warmup exercise before I started painting, and then made a transfer to the surface using graphite before I sealed it to preserve the drawing as much as possible. As I reflect on that, I then remember how I have a tendency to avoid careful planning, which is necessary if you wish to keep things in order as you move on with painting.

For me, any creative attempt is always predisposed to influence, so extracting from other artists is something that feels quite natural. As I remain interested in making paintings, I will continue exploring how other painters have learned to resolve technical roadblocks that currently I’m dealing with.